Oct 3, 2013

INTERVIEW: JENNIFER LAWRENCE

No second doubts, no hesitation — my favorite interviewee in 20 years of interviewing people (I enjoyed meeting Philip Roth, too, but Miss Lawrence is, on balance, a greater force for the common good): -

"At 22, Jennifer Lawrence is a testament to the globe-conquering power
that flows from her mixture of a) fame, b) raw talent and c) not giving too much
of a hootabout either a) or
b). She got $10 million to reprise the role
of Katniss Everdeen in the second Hunger Games movie, Catching Fire, enough money that her lawyers got her to write out a
will — it all goes to her family and favorite charities. She hasn't had a chance to spend any of it. She
used to have an apartment on Santa Monica but that got infested with paparazzi,
so now it’s hotels and couch-surfing with friends. She spent last night managing
to convince her best friend, Justine,
that the elevator of the Casa del Mar was haunted. That’s her biggest fear:
ghosts. Not acting opposite Robert De Niro. Or tripping over her dress in front
of 40 million people. The undead.“I’ll lay
in bed and hear a noise and imagine the scariest possible scenario, and then my
adrenaline starts going and then I tell myself that because my adrenaline is
going, the spirit is feeding off my
adrenaline! Or if there’s a spider. I try to kill it and I miss it. Great.
Now it knows what I look like. It can’t just be ‘ Oh no the spider’s still on
the loose.’ No, it’s ‘that spider knows what you look like and knows you tried
to kill it.” Psychopaths,
on the other hand, not so much. “At least that makes sense. It’s here. I sleep with a bow and arrow under
my bed. I have pink mace in my bag. I’m like: you just wait, you’re walking
into a world of pain.”

Actually
today her handbag has no mace — she has a bodyguard these days — but
it does contain a bottle of perfume, an iPhone, some multi-vitamins (unopened), a silicon falsie from a recent photo-shoot, and her diary, the first entry of
which reads: “Keeping journals always makes me nervous people are going to find
it so if you’re reading this just stop.
Don't be a journal reader. Those people suck.”
The picture on her iPhone is of her nephew. “Are you in for a world of cute?” she asks,
“Isn't he precious. Do you want to see him count really fast?” and shows me a
video of a curly-haired toddler counting from one to ten.

Ten
seconds also happens to be the rough amount of time it takes for an average
human being to fall in with Jennifer Lawrence like she’s you’re sister. She’s very funny, with something of the compulsive honesty and
room-temperature affect of the great comedians — Louis C K only prettier. When I
ask her what she most likes about her new life, she doesn't miss a beat.

“The
money,” she says in her husky, Bacall-esque voice.

Pause.

“I’m joking. The work, the work…”

She puts
so little store by the usual pieties that prop up the celebrity interview
— the love of the work, the importance of craft, the dedication to one’s
art, the method behind one’s madness — that at times the whole structure threatens to come crashing down with one push. She could be the most
radical talent currently working in Hollywood — a pure natural, a slob genius
in the tradition of great slob geniuses that included the young Liz Taylor and
Elvis, with the same plush appeal on the audience’s emotions, the same
ruby-like glint of trashiness in her soul. She never even intended to be an actress but got
talent spotted on the streets of New York and figured an actress was a better
thing to be than a model. She’s never had an acting lesson. She doesn’t
rehearse or research her roles and only commits her lines to memory the night
before. Before each take, she is normally to be found, eating potato chips, joking
around with the crew.

“It’s normally chips. My
bodyguard Gilbert, right before they call action, I’m like ‘If there aren’t
Cheezits here by the time they call cut, just go home.’ And he’ll start
running. It cracks me up how seriously he takes it. I’m just lazy. Whenever DPs are
like “I’m so sorry to do this but ‘would you mind not saying that one line’,
I’m like ‘Dude, I don't want to say any
of it. Whatever is easiest. Believe me. It's not my performance that is
motivating me. I want to get the on set catering.”And then,
just when her director is starting to sweat a little, she knocks it out of the
park. “She’s one of the least neurotic people I’ve ever met,” says David O
Russell, who directed her to her Oscar in Silver Linings. “She came onto the
set like some gee whiz kid, ‘what’s it like to have people ask for your autograph
Mr De Niro?’ And then she jumped in and took over the whole scene from every
actor in the room. De Niro turned to me and nodded, like ‘wow this kid is
really bringing it.’ He loved it. She’s like Michael Jordan. Her jaw doesn't get set. That's how they can
go in, under pressure and hit a 100mph fastball because they’re so loose.”

Many of the scandals that plagued JENNIFER LAWRENCE, sensualnya photos spread on the internet. ... from the confused, it is better you to bali alone, enjoying a holiday on the beach with a beautiful sunset

Great post. I think it is good for visitors. I like this kind of website where has a lot of real information, It proved to be very helpful. Thanks for admin, His creativity, Presentation, Information and all is good.Jennifer Lawrence

Telangana Film Chamber of Commerce was established in the year 2014, in Hyderabad, Telangana State, to cater the needs of the tollywood Art and Craft. Represent by its President Mr. Pratani Rama Krishana Goud, who has vast exprience in the film industries as an Actor, Producer, Director, Exhibitor.Telangana Film Chamber and Telangana Film Chamber of Commerce

"The book is a must for Woody Allen fans" - Joe Meyers, Connecticut Post

.

R E V I E W S

"What makes the book worth taking home, however, is the excellent text... by Tom Shone, a film critic worth reading whatever aspect of the film industry he talks about. (His book Blockbuster is a must).... Most critics are at their best when speaking the language of derision but Shone has the precious gift of being carried away in a sensible manner, and of begin celebratory without setting your teeth on edge." — Clive James, Prospect "The real draw here is Shone’s text, which tells the stories behind the pictures with intelligence and grace. It’s that rarest of creatures: a coffee-table book that’s also a helluva good read." — Jason Bailey, Flavorwire

"There’s a danger of drifting into blandness with this picture packed, coffee-table format. Shone is too vigorous a critic not to put up a fight. He calls Gangs “heartbreaking in the way that only missed masterpieces can be: raging, wounded, incomplete, galvanised by sallies of wild invention”. There’s lots of jazzy, thumbnail writing of this kind... Shone on the “rich, strange and unfathomable” Taxi Driver (1976) cuts to the essence of what Scorsese is capable of." — Tim Robey, The Sunday Telegraph

"A beautiful book on the Taxi Driver director's career by former Sunday Times film critic Tom Shone who relishes Scorsese's "energetic winding riffs that mix cinema history and personal reminiscence".' — Kate Muir,The Times"No mere coffee table book. Shone expertly guides us through Scorsese’s long career.... Shone shows a fine appreciation of his subject, too. Describing Taxi Driver (1976) as having ‘the stillness of a cobra’ is both pithy and apposite.... Fascinating stuff." — Michael Doherty, RTE Guide"An admiring but clear-eyed view of the great American filmmaker’s career... Shone gives the book the heft of a smart critical biography... his arguments are always strong and his insights are fresh. The oversized book’s beauty is matched by its brains”— Connecticut Post

.

Click to order

“The film book of the year.... enthralling... groundbreaking.” — The Daily Telegraph

“Blockbuster is weirdly humane: it prizes entertainment over boredom, and audiences over critics, and yet it’s a work of great critical intelligence” – Nick Hornby, The Believer

“Beautifully written and very funny... I loved it and didn’t want it to end.” – Helen Fielding“[An] impressively learned narrative... approachable and enlightening... Shone evinces an intuitive knowledge of what makes audiences respond... One of those rare film books that walks the fine line between populist tub-thumping and sky-is-falling, Sontag-esque screed.” – Kirkus Reviews

“Exhilarating.... wit, style and a good deal of cheeky scorn for the opinions of bien-pensant liberal intellectuals.” – Phillip French, Times Literary Supplement

“Startlingly original... his ability to sum up an actor or director in one well-turned phrase is reminiscent of Pauline Kael’s... the first and last word on the subject. For anyone interested in film, this book is a must read.” – Toby Young, The Spectator

“A history of caring” – Louis Menand, The New Yorker“Smart, observant… nuanced and original, a conversation between the kid who saw Star Wars a couple dozen times and the adult who's starting to think that a handful might have sufficed.” – Chris Tamarri, The Village Voice

"A sweet and savvy page-turner of a valentine to New York, the strange world of fiction, the pleasures of a tall, full glass and just about everything else that matters" — Gary Shteyngart, author of Super Sad True Love Story and Absurdistan